Sharing The Stage: Exploring Performing Arts in Regina
For many, the stage can be a place of great self-expression and vulnerability. It can also be a place of community, kinship, and the opportunity to form lifelong friendships. Despite facing many challenges such as the 2012 cancellation of the film tax credit in the province, Regina boasts a lively and resilient performing’s arts community. In this blog entry we discuss some of the history behind our city’s performing arts communities as well as some of the venues that make it possible for artists to share their talents with an audience.
Darke Hall, 2024.
Darke Hall
For performers and patrons alike, the experience of entering Darke Hall is astonishing and impressive. The original building was designed in the gothic revival style, featuring detailed stonework and stained-glass that make up the awe-inspiring façade of the building. The venue has played host to performers, musicians and more since its opening in 1929. The intention behind Darke Hall was to create a premiere performing arts centre in the city and the man behind this vision was Francis Nicolas Darke. Darke (b.1863) lived in Regina from 1891 to his passing in 1940. He was incredibly civic minded and worked tirelessly to better his community, even stepping into the role of mayor in 1898. He generously donated funds to both the creation of Regina campus (which would later become the University of Regina) and the creation of Darke Hall. With the help of architect James Henry Puntins, Darke’s dreams of creating “a temple to the arts, and a centre for cultural activity” came to life, providing artists with a space to congregate and produce countless years of entertainment for Regina citizens.
Francis Nicholson Darke, 1911-1912.
Image courtesy of The University of Regina Archives
Darke Hall functioned as a versatile space for many performers. The 1930s and 40s saw the Regina Little theatre utilizing the space to stage theatrical productions, ranging from one act plays to full length comedies and dramas. The creation of a venue specifically designed to foster the performing arts in Regina allowed local directors, actors, and backstage technicians to flex their skills in a beautiful space fit for their specific needs. Darke Hall was also often filled with the sound of music as the 1960s saw pianists, singers and other musicians take the stage. Darke Hall was also the choice performance venue for the Regina symphony up until the 1970s. Darke Hall became a place for out of province performers to visit as well, bringing in talent from across Canada who wished to play in such a grand building. However the venue really shined through its dedication to local artists, the venue allowed space for many community groups to gather such as the Women's Musical Club of Regina and the Regina Male Voice Choir.
Unfortunately, the beloved venue that had been dedicated to the betterment of performing arts organizations in the city would find itself in a state of disrepair, closing to the public. In response to this closure the Save Darke Hall Coalition was formed in 1983. Composed of roughly 30 theatre, cultural, music and heritage organizations the group worked together to focus the attention of government officials on the prospects of saving the building. With the closure of Darke Hall many organizations were left without a space to share their talents with an audience. In a news release issued in 1983, one member of the coalition stated that “this building is more than an old university building, it is a historic structure that is absolutely vital to community life in the capital city.” It's sentiments like these that highlight just how valuable Darke Hall had been in the creation and preservation of many community organizations. The first of several benefit concerts hosted throughout the years was held in 1984, bringing together the voices of caring citizens in a gesture of reciprocity towards a building that, for many years, had served the performing arts community and beyond. With the help of fundraisers like these the venue reopened again in 1986. However, there was still significant work needed to be done in order to ensure the building was safe and ready for public use. Over the years, the sounds of shoes tapping away on the dance floor at community gatherings and the melodies of the Regina Symphony orchestra began to slowly fade into the past and the building found itself once again in a state of disrepair. By the time 2015 rolled around Darke Hall had been unoccupied for quite some time and concerned citizens both within the performing arts community and beyond were becoming anxious to see Darke Hall return to its former glory.
Darke Hall as seen from the
North East, c. 1960.
Image Courtesy of The City of Regina Archives
An outpour of local support sparked the lengthy but fruitful journey of renovating Darke Hall. The University of Regina placed a call for architect firms to share proposals and in 2018 P3A, one of the largest architectural firms in Saskatchewan was selected to undertake the renovations. In a discussion with James Youck, the principal architect at P3A, Youck shared some of the philosophy behind the renovations. He expressed a desire to honour the heritage of the building without trying to imitate the original architecture. He expressed a goal that any additions made must be compatible both, visually and physically with the original structure while also being distinguishable from the original architecture. Youck wished to preserve character defining elements of the building such as the crenelated peaks of the roof, the original stained glass, and the detailed gold stenciling that framed the large windows in the auditorium. Another primary goal expressed by P3A, the University of Regina, and the staff at Darke Hall was a desire to make the building accessible. The current lobby was created at the level of what was originally the basement. This allows for easy access into the venue from the ground level. Not only is the building accessible for patrons but it is for performers as well. Backstage areas and dressing rooms have been modified through the implementations of lifts to the widening of tight spaces to accommodate the needs of performers as well. Curator Dawn Bergstrom shared with us that accessibility “was one of the big focuses of the renovation so that not only those who are attending shows but anyone who wants to participate in a show is now fully able to access all the backstage spaces and the auditorium.” The renovations were completed in 2022 ushering a new era for Darke Hall. The current goals of the venue are to continue supporting local performing arts organizations. Providing them with not only a venue but also working with them to provide assistance in areas such as technical support, marketing, stage management and so on. The new tag line for the venue is “If it’s at Darke Hall, it’s worth seeing,” echoing the dedication of Darke Hall staff in providing community organizations with a venue that ensures outstanding customer service and technical support. CEO Ruth Smillie shared that the focus of upcoming seasons will be led by a desire to showcase women-led productions as well uplift the voices of minority and Indigenous artists. The passion that ignited the “temple to the arts” in the late 1920s burns even brighter today thanks to the dedication of people like Youck, Bergstrom and Smillie, as well as the countless performers who have utilized the venue and worked to rally the community around performing arts in Regina.
Production of Charles Gounod's opera Faust at Darke Hall, 1952.
Image courtesy of The University of Regina Archives.
Regina Little Theatre
Contrary to its name, the Regina Little Theatre (RLT) and the productions they produce are anything but small scale. In fact, the society has a history that harkens back to the beginning of grassroots theatre organizations in Canada. Around the early 20th century large touring theatre circuits coming from England and The United States were slowly declining in popularity amongst patrons and actors alike. The need for local performing arts organizations that could support local actors and facilitate theatrical performances was becoming a desirable alternative in many Canadian provinces. There was a growing desire to create community amongst local artists who wished to grow their own performing arts organizations closer to home. This sparked what was deemed the little theatre movement, with countless amateur theatre societies cropping up across the nation. The RLT was born from this exciting period in 1926 by British expats Walter Read and Captain G.R. Chetwynd. Their goal was “to present the best plays for the entertainment of the members and to encourage new talent in all areas of the theatre,” and so with this sentiment in mind the RLT came to be.
Cast of "Bunty Pulls the Strings" presented by the Regina Little Theatre Society, 1932.
Image courtesy of The Regina Little Theatre.
It began as a small meeting amongst those who shared a common interest in drama and literature on May 21st of 1926. Here marked the beginnings of the RLT and set in stone the basic principles of the group. Some of these principles stated the need to always put the welfare of the group ahead of individual interests and the desire to encourage teamwork amongst members. Less than a month later the RLT hosted their first general meeting with some 25 people in attendance. Over the summer months of 1926 the RLT began working on their first performances. In the fall of 1926, the RTL unveiled their first one act plays, This singing soul and The old Lady shows her medals to a members only audience. With growing momentum, the RLT launched their first full length comedy on March 1, of 1927 with the play Officer 666 at the Grand Theatre. This marked an exciting beginning for the RLT as membership, patronage, and the growth of a local theatre community was only on the rise. The construction of Darke Hall in 1928 only aided in solidifying the RLT as a source of excellent and well-crafted theatre, now boasting a state of the arts performance centre as their venue. Darke Hall has played host to many performances over the years. Fortunately, this has created a strong relationship that has stood the test of time. The RLT began to branch out into more than just one act plays with the appearance of three act plays slowly making their way into the schedule. In a bid to encourage the development of theatre across the province, the RLT also aided in the formation of the Dominion Drama Festival in 1932. A festival that was held annually with cities taking turns hosting the event each year. It was here that amateur drama groups could share their work with an audience of fellow theatre lovers. They even had a chance to pick up some hardware along the way as renowned judges would issue awards for categories like best full-length plays, best director, and so on. The festival was a great opportunity for those in the industry to come together and share tips and trick of the trade, sparking a sense of community amongst those involved.
Cast of “I Remember Mama” Presented by The Regina Little Theatre, 1950-51.
Image courtesy of The Regina Little Theatre.
As the depression hit and World War 2 began to loom, the theatre became a place of respite from the horrors of what was going on in the world. The RLT served as a form of escapism for many years, not only for actors but for audience members as well. This era saw the RLT produce an uptick in comedies to hopefully provide some comfort and joy in such uncertain times. A post war cultural resurgence also saw an increase in popular Broadway hits and the increase in classics like William Shakespeare’s Hamlet or A Midsummers Night. This saw the RLT taking on a few more mainstream productions. In 1956 the RLT was generously gifted a former puff wheat factory located on what is now Saskatchewan Drive by Sampson J. Goodfellow. The factory served as rehearsal and storage space however, performances continued to be staged at Darke Hall. In 1988 the organization relocated to their current home in the Regina Performing Arts Centre located on Angus Street. The lower-level houses office space, a carpentry room, a wardrobe room, dressing rooms and rehearsal space, with the main level featuring the main stage in which performances are staged.
With the ups and downs of a nation and the winding down of the little theatre movement many organizations had run their course and closed operations. However, the RLT continues to this day. Even during the uncertain times of COVID-19 in 2020 and beyond the RLT has never missed a season. In fact, the RLT has only seemed to thrive in the face of adversity, even boasting a return to pre covid-membership numbers during their 2023/24 season. Today the RLT continues to build on its foundation of betterment of community and putting the whole over the individual as the organization is completely volunteer led. Not just the actors volunteer their time but all behind the scenes staff as well. From making costumes, to sourcing props, to building sets, the passion of these individuals can be felt at every performance. A dedication to teamwork and community echoes through all aspects of the organization and the RTL encourages everyone to take part in theatre. They offer open and informal audition processes and will gladly except volunteer help in backstage management as well, giving talented folks the opportunity to learn from seasoned veterans. They also offer four $4oo scholarships a year for those within the RLT to pursue education in some field related to theatre. You can learn more about upcoming seasons and opportunities at the RLT website: https://www.reginalittletheatre.com/.
Cast members of “The Man Who Shot Liberty Valance” Presented by The Regina Little Theatre, 2018.
Image courtesy of The Regina Little Theatre.
Sâkêwêwak
What about some more recently formed organizations that have taken the city by storm? That’s where Sâkêwêwak artist collective comes in. In 1993, Sâkêwêwak, was formed in partnership with Circle Vision Arts Corporation, which at the time was a provincial Indigenous Arts organization. Key leaders who assisted in the formation of Sâkêwêwak were Âhasiw Maskêgon-iskwêw, Edward Poitras, Robin Brass, Reona Brass and Sherry Farrell Racette, all accomplished artists and community organizers. The name Sâkêwêwak was chosen due to its origin from a Saulteaux word expressing “they are emerging” or “they are coming into view.” This name is fitting as the collective was built on the principles of nurturing professional development and creating space for emerging Indigenous artists to share their work. The organization also allows space for artists exploring spoken word, performance art and music as well. Over the years Sâkêwêwak’s programming has featured professional development workshops aimed at addressing the needs of artists transitioning from educational settings into their own professional practice. The aims of some of these programs are to address the development of skills such as how to stage an exhibition and how to apply for grants.
There is also a focus on artist residencies within the framework of Sâkêwêwak. The “In Rez” program offered by the collective allows for emerging artists to further explore and develop their craft in collaboration with established artists. The program began in 2014 through a partnership with The North American Indigenous Games. Artists worked together to create a 15-minute performance that explored a timeline from pre colonial days up until the present. The performance was then presented as part of the games closing ceremony. The project was carried on the following year as well, this time with mentees from the previous year were invited back to act as mentors to share what they have learned with a new generation of artists.
Marshall Vielle performing at the 2023 Storyteller’s Festival.
Image Courtesy of Sâkêwêwak.
Another facet of Sâkêwêwak Artists collective is their annual Storyteller’s Festival. Starting in 2021 the storyteller’s Festivals unites a range of artists from musicians, dancers, poets, visual artists and more. The multi-day event aims to uplift the voices of Indigenous artists and performers while providing a space for audiences to view their work. The core of the festival is centred around community support and works in partnership with local venues like The Artesian and Neutral Ground Artist-Run-Centre. The name “Storyteller’s Festival” reflects on the significant role that varying forms of storytelling play within Indigenous culture. Storytelling functions as a method of passing down knowledge and teachings, serving as an invaluable form of communication. The festival pays homage to the importance of storytelling and the notion of knowledge transmission plays heavily into their programming. Each year the festival selects a new theme for artists to explore. The 2023 festival was titled: Sâkitawâhk a Cree wording meaning “Where the Rivers Meet.” The 2023 festival also centered around providing space for the exploration of gender and two-spirit identities. The festival opened with a collaborative performance between artist Dana Danger and musician Violet Naytowhow. Danger is a Métis-Saulteaux-Polish and 2Spirit artist who’s practice ranges from beadwork, performance, sculpture, to several other mediums. Naytowhow is an accomplished musician who blends genres such as roots, country, and folk. Together, these two artists took to the stage of The Artesian and kicked off the festivities. The multi day event saw a stream of diverse performances ranging from song, dance, poetry and even film screenings.
The storyteller’s Festival has become an annual fixture in Sâkêwêwak’s programming and has only continued to grow since its beginnings in 2021. If you would like to learn more about what is in store for this year’s Storyteller’s Festival and Sâkêwêwak’s other programs you can visit their website at: https://sakewewak.ca/
Jeanette Kotowich &
Kathleen Nisbet performing at the 2023 Storyteller’s Festival.
Image Courtesy of Sâkêwêwak.
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“Annual Storyteller’s Festival.” Sâkêwêwak, 1 Aug. 2024, https://sakewewak.ca/about/.
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